[Illustration: FIG. 26.--BORDER OF MARY HEAVISIDE'S SAMPLER. A.D. 1735.] [Illustration: FIG. 27.--BORDER OF ELIZABETH GREENSMITH'S SAMPLER. AGED 10. JULY YE 26, 1737.] The border in Fig. 26 is dated 1735, and presents but little advance from a decorative point of view. It is the production of Mary Heaviside, and is upon an Easter sampler, which bears, besides the verse to the Holy Feast of Easter, the Lord's Prayer and the Belief. The border may possibly typify the Cross and the Tree of Life. Elizabeth Greensmith's sampler (Fig. 27), worked two years later, in 1737, is more pretentious in form, the body of the work being taken up with a spreading tree, beneath which repose a lion and a leopard. The border consists of an ill-composed and ill-drawn design of yellow tulips, blue-bells, and red roses. The stem, which runs through this and almost every subsequent design, is here very feebly arranged; it is, however, only fair to say that the work is that of a girl in her tenth year. [Illustration: FIG. 28.--BORDER OF MARGARET KNOWLES'S SAMPLER. AGED 9. A.D. 1738.] Margaret Knowles's sampler (Fig. 28), made in the next year--A.D. 1738--is the earliest example I know of the use on a border of that universal favourite the pink, which is oftentimes hardly distinguishable from the corn blue-bottle. In the present instance it is, however, flattened almost out of recognition, whilst the design is spoilt by the colossal proportions of the connecting stem. In the second row of the sampler, Fig. 24, it is seen in a much simpler form, and it will also be found in Plate VI. [Illustration: FIG. 29.--BORDER TO SAMPLER BY ELIZABETH TURNER. A.D. 1771.] [Illustration: PLATE XI.--SAMPLER BY ANN CHAPMAN. DATED 1779. _Mrs C. J. Longman._ Incongruity between the ornament and the lettering of a Sampler could hardly be carried to a more ludicrous extreme than in Ann Chapman's, which is here reproduced in colour. The two points of Agur's prayer, which fills the panel, are that before he dies vanity shall be removed far from him, and that he shall have neither poverty nor riches. Yet as surroundings and supporters to this appeal we have two figures posing as mock shepherd and shepherdess, and decked out in all the vanities of the time. Agur's prayer was apparently often selected, for we see it again in the Sampler of Emily Jane Brontë (Fig. 10), but there it has the quietest of ornament to surround it, and it is worked in black silk; whereas in the present case there is no Sampler in the collection where the whole sheaf of colours has been more drawn upon.]